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Poster: glenn Date: Sep 4, 2006 6:18pm
Forum: etree Subject: PETE SEEGER live at 87

video here:
audio, including lossless and also mp3 if you like that sort of thing:

Just thought I'd give yer a heads up, one hour interview and music by Pete Seeger.

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Poster: Mycroft Trout Date: Sep 4, 2006 8:58pm
Forum: etree Subject: Re: PETE SEEGER live at 87

Thanks for the info. I'm downloading it now and looking forward to watching it. In case you didn't know, the Archive's also got a 1947 Pete Seeger movie named "To Hear Your Banjo Play" It's been a while since I watched it but I think it also features Woody Guthrie, Sonny Terry and Brownie McGhee in addition to Pete Seeger.

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Poster: glenn Date: Sep 8, 2006 10:12am
Forum: etree Subject: Re: PETE SEEGER live at 87

Yeah, its a pretty short film, but pretty cool. Nice one to watch with the democracynow footage.

On DN, you can see that Amy Goodman is absolutely tickled pink to have Pete Seeger right there in her studio. At one point she looks like about to explode with delight.

He's the Genuine Article, that's for sure. Blacklisted by HUAC, 'took the first when everyone else was taking the fifth'...

This interview is really worth the time it takes to download the high-resolution video. I'm burning it to DVD with the 'To hear your banjo play' movie and sticking it in my 'treasure chest'.

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Poster: RonPrice1 Date: Jun 24, 2008 11:28pm
Forum: etree Subject: Re: PETE SEEGER live at 87

The following made me think of Pete Seeger:
Shortly after I retired from full-time work in 1999 and part-time work in 2003 as well as much of the voluntary work I had done for decades in 2005, I saw a documentary film1 entitled The Weather Underground. I felt a certain nostalgia as I watched this television documentary since the complex and historical origins of the group at the centre of this TV doco, the Weathermen and later the Weather Underground Organization, could be traced back to the 1960s and particularly my second year at university, 1964-5, when I was a history and philosophy student at McMaster University in Canada.

The Students for a Democratic Society(SDS) was first formed in 1960 and the Weathermen was a split-off from the SDS in 1969. The academic year, 1964-5, was the year of the free speech movement centered at the University of California, Berkeley; the SNCC: Student Non-Violent Co-ordinating Committee and other groups concerned with civil rights and anti-Viet Nam protests. Although I never joined any of these groups, I did take part in two demonstrations in Hamilton and Toronto in the spring of 1965. I attended one conference in Ottawa concerned with civil rights, voter registration and specifically the treatment of Negroes in Selma Alabama, among other concerns. I was, for a few months anyway, caught up on the fringe of a complex series of socio-political movements and their milieux on my university campus.

As a result of an all-night vigil I took part in on the steps of the American embassy in Toronto I got my picture on the front page of the Hamilton Spectator. I think it was about April of 1965, although the exact month is vague now. It was the only time in my life I made the front page of any paper. The confrontation was a display of masculinity on both sides, a declaration of toughness, which sidelined women physically and morally,2 even though women made up a proportion of the protestors--one of whom slept right under my nose and my lips that night.-Ron Price with thanks to 1“Hot docs: The Weather Underground,” SBS TV, 10:00-11:35 p.m., August 15th 2006; Pioneering Over Four Epochs, August 16th 2006; and 2 R.W. Connell, "Politics of Changing Men," Australian Humanities Review, December 1996.

By the time you1 got going
in that summer of ’69 I was
heading for Cherry Valley to
teach kids from the farms of
southern Ontario in grade 6
and play soccer at recess….
and the world was on its way
to the moon.

You were right, the revolution
was on its way and you played
your part by blowing things up
and I played mine by working
within the nucleus and pattern
of a new world order born in
the Siyah Chal in 1853 ground
in the mill of adversity, such a
different scene than yours was.

And, yes, the revolution goes on,
quietly in some places, noisy in
others, largely unnoticed, in the
hearts of millions who have no
commitment to the status quo
and who spiritually dropped out
with a withdrawal that is almost
deafening from a world they have
long found to be quite meaningless.

The revolution goes on just about
entirely out of our control as we
work to produce a new pattern
of human life, little by little,
day by day with a social model
and a vision that penetrates
to the very purpose of life.2

1 The group known as the Weathermen.
2Douglas Martin, “The Spiritual Revolution,” World Order, Winter 1973-4, pp. 14-21.

August 16th 2006

The House of Justice had, in April 1965, referred to a sense of an impending breakthrough in large-scale conversion. What I was experiencing at the time was a different breakthrough, one of a different order, distracted as I was by the power of sensory and sensual stimulation, during the greatest drama in the world's spiritual history. It appeared that I was not girding myself for heroism but, rather, reaching out for a palliative when fear and depression had overwhelmed me. The world's confusion, which was increasing with every passing day, had invaded the centre of my life as it often would down life's track. Leon Trotsky was right when he wrote that "a man must live in the service of a great idea." But I was finding it very difficult in these first months and years of pioneering. In some ways the main difficulty was working out just what to do in the midst of a torrent of rain and storms, a tempest of private troubles. Some troubles, both one's own and the world's, were insoluble by action. One's only recourse was acceptance and a patience that soothed resignation's quagmire. It was my hope as an autobiographer, looking back over so many years of my life that I might exhibit a literary versatility and what might be called a sophisticated amateurism, part of the English temperament that I inherited as a Canadian, to deal with the complexities of the life I had lived. It was a job I aspired to do well.

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Poster: RonPrice Date: Dec 22, 2006 7:43am
Forum: etree Subject: Re: PETE SEEGER live at 87

Pete is still getting accolades from many an artist. Here in Australia, just yesterday, on ABC Radio National, Judy Collins was praising Pete for his work as far back as the forties and fifties. I found it so inspirational that I wrote the following prose-poem which I beg your indulgence for as I post it--from Australia:
I listened to Judy Collins 40 years ago in my late teens and early twenties--back in the sixties--but I never heard her talk as I did in an interview this morning. I thought I might add the following personal reminiscnece to your words on Collins at this site. The interview was a replay on ABC Radio National on the Margaret Throsby program. I found the interview and especially Collins'words a source of such nostalgia that I wrote the following prose-poem. Judy may never see the poem, but that does not matter. She is in no more need of accolades after more than 40 years of them. But thank you, Judy, for so much you have given me.
(the escape)

This morning I listened to a radio interview with singer and songwriter Judy Collins now in her late fifties. Margaret Throsby interviewed Collins on her ABC Radio National program, 6 December 2006. Collins informed listeners that her mentor Pete Seeger had written the words and the music to the song Turn Turn Turn as early as 1954. He did not release the song until 1962. The year 1962 was the beginning of my pioneering life in the Bahá’í community. Judy Collins sang the song on her 1963 album, Judy Collins #3. This was the year of the formation of the first Universal House of Justice. There was some significant turning going on in the Bahá’í community at the time.

Seeger had adapted the words from chapter three of the Book of Ecclesiastes, 3: 1-8 at another turning point in the history of the Bahá’í community and my own life. The words and that book of The Bible are often interpreted as conveying a spirit of fatalistic resignation. The words of Seeger's song have also been criticized as just being a series of over-simplifications. We all see things differently.

The Byrds' released a version of the same song in October 1965. Their version possessed, some felt, more optimism than previous versions. One analyst of the song said that The Byrds' release of Turn!Turn!Turn! in that October of 1965 captured the zeitgeist of the time. It was in that same month of 1965 that I decided to pioneer among the Inuit in Canada and when I arrived I played Pete Seepger Songs ad nauseam from the 12 LPs someone had given me as a wedding present.
I had, indeed, in that October of 1965, at last made a decision, a specific, a directed, a difficult decision to pioneer, to turn. This anthem of the peace movement and the civil rights cause, Turn Turn Turn could have been the anthem for my own decisions and some significant turning points in the life of my spiritual community, first at the age of 10, then at 18 and then again at the age of 21, as I started my baseball career, then finished high school and entered my last year of university.

I finally had a specific direction to my future vocational career as a teacher and to my role as a pioneer at that time in the Bahá’í community. I had done a lot of turning. -Ron Price, "Turn! Turn! Turn!" Wikipedia, 6/12/06.

They were hot days back then in '65.
Depression had lifted and those initial
erotic excitements or, perhaps it was
some quite mysterious body chemistry
had sent me into the manic phase
sufficiently below the hypomanic
to cope with life and limb and libido.

Somewhat serendipitously, it seems,
looking back after more than 40 years,
I chanced to go to Chatham--the end of
The Underground Railway--it happens--
where they came to a world of freedom1
as I--looking back--was going to my world
of freedom; or, perhaps, it was a prison,
the Most Great Prison of my life,
little did I know then in '65 when
I was just starting out on the road, Judy.

1 This town in southern Ontario was the last stop for Negroes escaping from the oppressive racism in the USA in the 19th century.
Ron Price

7 December 2006

That's all folks!

This post was modified by RonPrice on 2006-12-22 15:43:28

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Poster: RonPrice1 Date: Jun 24, 2008 11:19pm
Forum: etree Subject: Re: PETE SEEGER live at 87: A Personal Reflection


Pete Seeger was at the heart of the protest movement in the last half of the twentieth century. And if not at the heart, he supplied much of the music. There was a good deal of genuine self-revelation in his singing; self-revelation is a rare gift, almost a creative gift. How alien, how remote, seem most people's memoirs, autobiographies and confessions from the real current of their actual days. Some autobiographies use self-revelation as a form of social protest, a form of victim narrative.

Sylvia Plath's poem The Bell Jar(1950's) is one of the earliest examples. More recent victim narratives are about self-promotion, sensationalism and self-disclosure: here oppressors and victims all tend to blurr. Perhaps many who read my work will find it alien and remote, just not enough juices, not enough heat, not enough to turn you on, a little too analytical thank you very much. While my memoirs are focussed, my experience tells me, they are also in a context with too much analysis for many people’s liking. For this and many other reasons their popularity will elude me.

If my memoirs were more like those who wrote of their travels on the Oregon, the Santa Fe or the Cherokee Trail, among many others; the adventures of many of the explorers in Australia or in any one of the many parts of western civilization in the 18th and 19th centuries; indeed, the lives, actions and adventure stories of which there are thousands extant, I'm sure success would have been mine--or at least mine more easily. Perhaps, too, I should have followed American humorist Will Rogers' advice. He said, partly in jest and partly seriously, "When you put down the good things you ought to have done and leave out the bad things you did do, that's memoirs." Perhaps I’ve left out too many bad things. Perhaps, as well, my memoirs could have been liberally laced with photos, sketches, emoticons, a wide range of visual enrichments that have become available to writers in recent decades.

For this more audio-visual age I'm sure these embellishments would have been an asset to the acceptance and success of this work. I have tried to connect my work as far as possible to the real current of my times, my days and my religion. Perhaps I should have gone in for protest songs like Seeger. My efforts with memoirs could be called vintage memoirs. Such memoirs celebrate a period of time with music, the arts, books, furniture, architecture and a wide selection of cultural adornments like: clothing, foods, technology, inter alia. These vintage memoirs place the person in the context of material culture and for those more interested in the culture and less in the person, this is an excellent technique. My efforts in this direction are meagre.

I don't go anywhere near, say, the in/famous Howard Stern, the radio 'shock-jock' who introduced a new radar of naughtiness into media society. Most of his public revelations are, for me, private things. I'm not into exploiting myself to make a buck, to introduce self-tabloidization, pseudo-victimization or anti-victimization. There is no resemblance whatsoever between my memoirs and, say, those of bystanders, war heroes, prostitutes, criminals and celebrities. There are literally thousands of memoirs becoming available now from ordinary people inhabiting history's troubled waters to the ordinary among my contemporaries. I'm just one of a million, the ordinarily ordinary, the humanly human.

Autobiographical truth is not a fixed but an evolving content in an intricate process of self-discovery and self-creation. The self at the centre of all autobiographical narrative is in some basic, subtle and quite mysterious ways a fictive structure.(1) But whether fictive or non-fictive, there has been at the centre of this narrative an explicit avowal, an acceptance, of the embodiment of moral authority in the Central Figures of the Baha'i Faith and Their elected successors, the trustees of a global undertaking, the Universal House of Justice. There was, too, a facticity at the centre of this work. This is not a work of self-creation as readers come across so frequently in the entertainment business.(2) -Ron Price with thanks to: (1)Fictions in Autobiography: Studies in the Art of Self-Invention, Author Unknown, Princeton UP, 1985, p.3; and (2)Joe Lockard, "Britney Spears, Victorian Chastity and Brand-name Virginity," Bad Subjects: Political Education for Everyday Life, October 2001.

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